The Aerowaves performances at Resolution! are all UK debuts from international
companies. They're that little bit more experienced than the first time
Brits and it shows.

Emilia Adelöw,
representing Sweden, is tonight's class act. In "Rosting" there's
a stage strewn with chairs, a blonde in a black dress, a good looking
guy wearing stubble and a suit, and a lot of sexual tension. This predatory
pair know the ways and wiles of modern romance. They ask for attention
yet act like they don't need it. Can you offer yourself up without letting
your guard down?

When he gets hold
of her, testosterone thrusts to the surface – along with some gutsy
choreography. This is confrontational courting. But when they tire of
the game and head for the bedroom, vulnerability is laid bare. There's
very little actual contact between the couple but less proves more when
the result is deliciously sensual.

Rhythm builds seductively
and the highly charged heat rises – like real sex rather than its
stylised stage cousin. But rather than climax, it cools off. Let down
by trite music, "Rosting" doesn’t leave you completely
satisfied but it certainly stands out.

In comparison, Rachel
Lopez de la Nieta's "A sort or kind" just simmers. A short solo,
ably danced by Henrietta Hale – mostly on her hands and knees –
is promising but needs embellishment. The pivotal moment comes when a
flock of birds are illuminated overhead, their shadows thrown onto the
stage, circling our earthbound dancer. Entranced by the image, she spreads
her arms and runs, desperately in search of flight – but like this
piece – doesn't quite take off.

'Can't live with
'em, can't live without 'em' seems to be the message in Suzannah West's
"Vent". Men, women, friends or lovers, other people are an eternal
source of strife. If the previous piece was a sketch, then this is a textbook
crammed full of ideas. The company of five try Alston-esque abstraction,
martial art-inspired sparring, some shouting, some comedy, ensembles,
solos and duets.

What she needs to
erase is the choreographic process. It’s like watching a workshop,
seeing the dancers move through possibilities, often chancing on an innovative
balance or nice detail, but nonetheless exposing the workings. Great choreography
should feel instinctive, never laboured.

The young dancers
need a little fine-tuning and like all of tonight's pieces, "Vent"
suffers from insipid music – a repetitive plodding keyboard and
endless arpeggios. No more please. This feels like a choreographer revising
everything she's learnt so far. Now she needs to branch out on her own.

Lyndsey Winship’s
article was written for Resolution! Review on the Place's website.
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